Opera Singer Research Articles

Manuel Salazar Zúñiga: su legado artístico y musical en el cincuentenario de su benemeritazgo

The interest of this article is to demonstrate the greatness of Manuel (Melico) Salazar (1887-1950), the highest tenor of Costa Rica. He sang in the most famous theaters in the world, along with the best opera singers of his time.

British Military Music and the Legacy of the Napoleonic Wars

Abstract Historians have increasingly stressed the impact of the French Revolutionary and Napoleonic Wars on Britain and Ireland. Less attention, however, has been paid to the legacies of martial mobilization after 1815. Drawing on hitherto unused press and archival sources, this article assesses the implications of wartime military expansion for the music profession, and musical culture more generally, in the decades after Waterloo. It demonstrates that men and boys who honed their instrumental skills in uniform embarked on a variety of civilian musical careers, becoming instructors, wind performers, composers, and even opera singers. The article traces the post-war circulation of regimental instruments and reveals that a multitude of militia and volunteer bands remained active long after demobilization. The wartime proliferation of military bands, moreover, encouraged the subsequent spread of quasi-martial wind ensembles in wider society. Finally, the article proves that brass bands were first introduced to Britain and Ireland in a regimental guise. The influence of the military on musical culture after 1815, in short, was palpable and often profound, and manifested itself in numerous ways and settings.

Derivations and Developments of Traditional Chinese Opera Singing in the Context of Chinese National Opera

Derivations and Developments of Traditional Chinese Opera Singing in the Context of Chinese National Opera

Operatic voices engage the default mode network in professional opera singers

Extensive research with musicians has shown that instrumental musical training can have a profound impact on how acoustic features are processed in the brain. However, less is known about the influence of singing training on neural activity during voice perception, particularly in response to salient acoustic features, such as the vocal vibrato in operatic singing. To address this gap, the present study employed functional magnetic resonance imaging (fMRI) to measure brain responses in trained opera singers and musically untrained controls listening to recordings of opera singers performing in two distinct styles: a full operatic voice with vibrato, and a straight voice without vibrato. Results indicated that for opera singers, perception of operatic voice led to differential fMRI activations in bilateral auditory cortical regions and the default mode network. In contrast, musically untrained controls exhibited differences only in bilateral auditory cortex. These results suggest that operatic singing training triggers experience-dependent neural changes in the brain that activate self-referential networks, possibly through embodiment of acoustic features associated with one's own singing style.

The Singing Techniques of Traditional Chinese Yu Opera in Sociological and Anthropological Perspectives

Background and Aims: Traditional Chinese Yu Opera, a culturally significant art form, embodies unique singing techniques that offer rich insights into the social and cultural dimensions of China. This research aims to investigate the singing techniques of traditional Chinese Yu Opera from sociological and anthropological perspectives. Materials and Methods: The study utilized a mixed-methods approach, combining qualitative analysis, ethnographic observation, and expert interviews. Extensive literature reviews provided a theoretical foundation, while fieldwork included observing performances and conducting interviews with Yu Opera artists and cultural experts. This comprehensive methodological framework aimed to capture the nuances of singing techniques and their socio-cultural implications. Results: The research findings highlight that Yu Opera's singing techniques are not only artistic expressions but also potent cultural symbols that reflect and influence social structures and values. Detailed analyses of performances, particularly the opera "Mulan", revealed how these techniques convey cultural narratives and facilitate social interaction, aligning with sociological theories of cultural capital and anthropological views on cultural transmission. Conclusion: This study underscores the importance of Yu Opera's singing techniques as cultural texts that extend beyond mere performance, serving as vehicles for social cohesion and cultural continuity. The findings advocate for enhanced educational programs and interdisciplinary research to preserve and understand traditional arts like Yu Opera, ensuring their relevance in contemporary society.

Climatic Crescendo: Assessing the Impact of Climate Change on Opera Singers' Well-Being in South Africa

Climatic Crescendo: Assessing the Impact of Climate Change on Opera Singers' Well-Being in South Africa

An Interview with Jan Wiener.Conducted by Linda Carter on January 7, 2024.

Jan Wiener is a Society of Analytical Psychology (SAP) trained Jungian analyst and Journal of Analytical Psychology Board member, highly esteemed in Jungian and psychoanalytic circles for her work as a practitioner, teacher, supervisor and writer as well as for her well-honed leadership skills, notably as a member of the executive committee and as a vice-president of the International Association for Analytical Psychology (IAAP), the international organizing body for Jungian analysts worldwide. Jan has made remarkable contributions to the personal and professional development of Jungians not only in the UK but also for those involved in the IAAP Developing Groups programme where she has been a pioneer, providing cross-cultural outreach to those seeking training in Russia, Taiwan, Serbia, Ukraine and Denmark. Success in Jan's many-faceted and full life has been facilitated by a natural authenticity, good sense of humour, hearty laugh and a welcoming attitude; these attributes have significantly aided in bridge-building and opening space for creative interactions within and between individuals and groups. Her development was influenced by a history of parents who fled from Vienna and Berlin to London, escaping persecution by the pre-war Nazi regime. Jan's aunt lived in close proximity and was a child analyst who worked closely with Anna Freud. As a young woman, Jan swam the English Channel and she has always been a sports lover, especially tennis. Her many talents extend to music and she is a trained opera singer who has recently been involved in an affordable educational programme in Cratoule, France, that fosters the expanding growth of amateurs who have the opportunity to learn from more established, experienced attendees. Jan has performed as a singer in addition to presenting her analytic work globally. She has many publications that centre around clinical practice, her forte. Well-known by those who have been in relationship with Jan personally and professionally is her exceptional capacity for presence in the moment while holding the long-view; this capacity as well as an inclusive attitude, perhaps born in part from family history, along with a keen intelligence, intuition and native talent, have led to a life-long commitment to service and generative partnerships that continue to bear fruit amongst those touched by her kind and generous soul.

Sindrome mutacional de una voz operística

The spontaneous mutation of the voice in an opera singer is a very rare fact and worthy of publication. For the first time in the world, this mutational syndrome of a single voice that has been controlled for years and has been recorded over time has been described in all clinical, phoniatric, operatic and laryngological details. We are referring to an unusual case of an opera singer affected by a pituitary adenoma, undiagnosed, for many years, which led him to change his tessitura progressively, going from tenor to bass. This study analyzes the evolution of their laryngeal, stroboscopic, phoniatric and vocal parameters over the years and their persistence even after pituitary surgery.

A Study of the Effect of Sichuan Opera Singing on the Vocal Skills of Music Students

The purpose of the article is to explore the effects of Sichuan opera singing on music majors’ vocal skills, focusing on three key aspects: pitch test, assessment of rhythmic perception, and emotional expression. Through a quasi-experimental design, 100 music majors were selected as research subjects and divided into an experimental group that received Sichuan opera singing instruction and a control group that received traditional vocal instruction. The results showed that compared with the control group, the experimental group receiving Sichuan opera singing teaching showed significant improvement in pitch mastery, rhythm perception, and emotional expression.

The musical-creative and pedagogical activity of Solomiya Krushelnytska: contribution to the development of Ukrainian music education

This article examines the musical-creative and pedagogical activity of the prominent Ukrainian opera singer Solomiya Krushelnytska (1872-1952) and her contribution to developing Ukrainian music education in the first half of the 20th century. Utilising theoretical approaches to studying personality within the cultural-historical context, we explore Krushelnytska's life path as an example of combining artistic activity and pedagogical practice. The research analyses biographical materials, students' memoirs, and critical reviews of the singer's performances. The results show that Krushelnytska significantly contributed to popularising Ukrainian vocal art internationally and played an essential role in developing vocal pedagogy in Ukraine. Her pedagogical principles, grounded in her personal experience and methods of the Italian vocal school, promoted the formation of new generations of Ukrainian opera performers.

Laure Cinti-Damoreau’s Méthode de Chant - Xploring a Historic Voice Treatise

The aim of the article is to establish potential uses for historical voice treatises, which are currently overlooked. The analysis of Laure Cinti-Damoreau’s voice method (1853) reveals a complex system of voice exercises, which aims to train every aspect of operatic singing: from developing breath management, to mastering seamless legato as well as complex coloratura phrases. The exercises are accompanied by simple chord progressions – which singers were often presumed to be able to play themselves. While this treatise does not contain any written explanations its value lies in the intricacy of the exercises themselves. The conclusion proposes that the exploration of such exercises in the modern voice studio would complement the technical work of voice teachers. Keywords: opera, voice teacher, voice-treatise, vocal technique

The Many Voices of Sissieretta Jones: Opera and the Sonic Necromancy of the Black Phonographic Archive

Abstract: Sissieretta Jones (1868-1933) is perhaps best remembered as one of the first Black opera singers, despite having never performed on the operatic stage. Exploring race and phonography as interlinking technologies of perception underlying and structuring the ability of audiences to perceive black performers, this essay analyzes the multiple Joneses produced through her archive—in reviews, promotional photographs and illustrations, and the absence of her phonographically recorded voice. Through this exploration, I argue that we must resist the drive to embalm the remains of performance in order to move toward a more multiple analysis of Black archives.

NÂNG CAO CHẤT LƯỢNG GIỌNG HÁT THÔNG QUA MỞ RỘNG ÂM VỰC CHO SINH VIÊN NGÀNH THANH NHẠC TẠI TRƯỜNG ĐẠI HỌC VĂN HÓA, THỂ THAO VÀ DU LỊCH THANH HÓA

In vocal music, the singer's performance ability is often considered a "living instrument". However, a singer has not only a voice, but also a long training process to meet the high criteria of a professional voice. Expanding vocal range is an important requirement when teaching and learning Vocal Music. A voice that cannot expand its vocal range will be limited in expressing a variety of songs in different genres. A voice that cannot expand its vocal range will be limited in expressing a variety of songs in different genres. With a song that has a high or low range, a singer with a wide range will perform best. Limited vocal range will make the voice unprofessional and unable to meet the performance requirements of the work. Therefore, during the teaching process, teachers need to focus on training to expand students' vocal range.

Aria as a basis for teaching opera singing in the vocal class

Aria as a basis for teaching opera singing in the vocal class

Rearranged: an opera singer's facial cancer and life transposed.

Rearranged: an opera singer's facial cancer and life transposed.

The Effect of Oxidative Stress on the Human Voice.

The vocal fold vibrates in high frequency to create voice sound. The vocal fold has a sophisticated histological "layered structure" that enables such vibration. As the vibration causes fricative damage to the mucosa, excessive voicing can cause inflammation or injury to the mucosa. Chronic inflammation or repeated injury to the vocal fold occasionally induces scar formation in the mucosa, which can result in severe dysphonia, which is difficult to treat. Oxidative stress has been proven to be an important factor in aggravating the injury, which can lead to scarring. It is important to avoid excessive oxidative stress during the wound healing period. Excessive accumulation of reactive oxygen species (ROS) has been found in the injured vocal folds of rats during the early phase of wound healing. Antioxidants proved to be useful in preventing the accumulation of ROS during the period with less scar formation in the long-term results. Oxidative stress is also revealed to contribute to aging of the vocal fold, in which the mucosa becomes thin and stiff with a reduction in vibratory capacity. The aged voice can be characterized as weak and breathy. It has been confirmed that ROS gradually increases in rat vocal fold mucosa with age, which may cause further damage to the vocal fold. Antioxidants have also proved effective in avoiding aging of the vocal fold in rat models. Recently, human trials have shown significant effects of the antioxidant Twendee X for maintaining the voice of professional opera singers. In conclusion, it is suggested that oxidative stress has a great impact on the damage or deterioration of the vocal folds, and the use of antioxidants is effective for preventing damage of the vocal fold and maintaining the voice.

“Below 58 BPM,” involving real-time monitoring and self-medication practices in music performance through IoT technology

The project presented in this paper illustrates the design process for the development of an IoT system that monitors a specific bio-metric parameter (heart rate) in real time and provides feedback for an opera singer, as well as adding effects that manipulate the sounds emitted by the body during a self-healing practice. This allows the singer to rest and alternate opera singing techniques (which is very demanding) with other less demanding singing techniques and even a self-healing session in case of necessity during a performance. The case study presented in this paper has been developed with and for Eleonora Amianto, an opera singer who suffered from a carotid aneurysm. We performed an idiographic design process, closely collaborating with Eleonora, and developed a wearable IoT that suited her health and artistic needs. In the design of the system, we explore the intersection between self-healthcare and performative arts, focusing on the use of an Internet of Musical Things (IoMusT) system to implement medical prevention and treatment practices in an art performance. The system is developed using open-source tools, allowing for easy replication and improvement, as well as reducing risks of obsolescence and costs of updating. We complement a formal evaluation session with field notes collected during the design phase. We could observe a positive effect of the system on Eleonora's practice and its potential applications within different performative scenarios.

Analysis of the relationship between emotion intensity and electrophysiology parameters during a voice examination of opera singers.

Emotions and stress affect voice production. There are only a few reports in the literature on how changes in the autonomic nervous system affect voice production. The aim of this study was to examine emotions and measure stress reactions during a voice examination procedure, particularly changes in the muscles surrounding the larynx. The study material included 50 healthy volunteers (26 voice workers - opera singers, 24 control subjects), all without vocal complaints. All subjects had good voice quality in a perceptual assessment. The research procedure consisted of 4 parts: an ear, nose, and throat (ENT)‑phoniatric examination, surface electromyography, recording physiological indicators (heart rate and skin resistance) using a wearable wristband, and a psychological profile based on questionnaires. The results of the study demonstrated that there was a relationship between positive and negative emotions and stress reactions related to the voice examination procedure, as well as to the tone of the vocal tract muscles. There were significant correlations between measures describing the intensity of experienced emotions and vocal tract muscle maximum amplitude of the cricothyroid (CT) and sternocleidomastoid (SCM) muscles during phonation and non-phonation tasks. Subjects experiencing eustress (favorable stress response) had increased amplitude of submandibular and CT at rest and phonation. Subjects with high levels of negative emotions, revealed positive correlations with SCMmax during the glissando. The perception of positive and negative emotions caused different responses not only in the vocal tract but also in the vegetative system. Correlations were found between emotions and physiological parameters, most markedly in heart rate variability. A higher incidence of extreme emotions was observed in the professional group. The activity of the vocal tract muscles depends on the type and intensity of the emotions and stress reactions. The perception of positive and negative emotions causes different responses in the vegetative system and the vocal tract. Int J Occup Med Environ Health. 2024;37(1):84-97.

Ethnomusicological Perspectives on Gaomi Miaoqiang: Unveiling the Cultural Tapestry

This ethnomusicological study delves into the vibrant tapestry of Gaomi Miaoqiang, a traditional Chinese folk opera hailing from the Shandong province, exploring its historical evolution, linguistic intricacies, musical characteristics, and cultural implications. With a foundation rooted in the "肘鼓子" (Zhou Guzi) series of Shandong local operas, Gaomi Miaoqiang has evolved over centuries, blending folk singing styles and incorporating influences from Huagu yangge and Lüqin opera. Acknowledged as China's 67th National Intangible Cultural Heritage, Gaomi Miaoqiang represents a profound cultural legacy.The study scrutinizes the language features of Gaomi Miaoqiang, emphasizing simplicity, clarity, and the integration of local dialects, reflecting the rural life of the Gaomi community. Musical analysis unveils the operatic singing styles, instrumental accompaniment, and the evolution of musical composition. From the authentic tones of the "Original Board" to the intricate patterns of the "Dayoutou Board," Gaomi Miaoqiang's musical journey embodies emotional depth and narrative complexity. The study also explores the roles, makeup, costumes, and stage art, highlighting the art form's transition from grassroots performances to professional troupes. Furthermore, Gaomi Miaoqiang's cultural significance is illuminated, portraying its role as a conduit for spiritual solace and emotional release within local communities. Recognizing its enduring influence, the study advocates for the preservation of Gaomi Miaoqiang's distinctiveness amid urban influences. As Gaomi Miaoqiang navigates the intersection of tradition and modernity, it emerges as a cultural beacon, casting light on the rich legacy of Chinese folk opera and emphasizing the critical role of ethnomusicology in unraveling the intricate threads of cultural heritage.

REARRANGED: An opera singer’s facial cancer and life transposed Kathleen Watt

In lyrical prose, with musical allusions, clinical references, and a bit of comic relief, Rearranged follows Kathleen Watt's plunge from the operatic stage into the netherworld of hospital life—its indigenous creatures, its peculiar language, its signposts of the mysterious human condition—through the devastation of cancer, and out the other side. Kathleen was a New York opera singer at mid-career, with a steady, lucrative chorus job at the Metropolitan Opera and solo gigs elsewhere, anticipating her best year ever. Instead, a vicious bone cancer blew her plans to smithereens, along with her face. She had to let everything go. Bit by bit, through a brutal alchemy of lethal toxins, titanium screws, and infinite kindness, she discovered new arrangements for old pieces, in a life catastrophically transposed. Not only a heart-wrenching medical odyssey but also, ultimately, a joyous personal journey of transformation.